The Notlob Parlor Concerts at the Loring-Greenough House presents the best local and touring roots, Americana, newgrass, traditional and contemporary folk and blues artists in unique and unusual settings in the Boston, MA area. The Fall 2007 series continues at the historic Loring-Greenough House, 12 South Street, Jamaica Plain, MA. 02130, http://www.lghouse.org.Built in 1760, it is listed in the National Register of Historic Places and has been a historic house museum since 1926.Its beautiful period decor and intimate size make it an ideal setting for acoustic music.

"...Pat Wictor walks onstage and sits down. He places a Guild DV-52 flat across his lap and begins playing slide guitar. The sounds are snaky and sizzling...." -Richard Cuccaro, Acoustic Live

In a remarkably short period of time, Pat Wictor has become the name that is being chatted about on the acoustic, blues, folk and Americana circuits. Steeped in American "roots" music, Pat is a contemporary songwriter and interpreter drawing on the rural country, gospel, and blues traditions of our nation.

An American by birth, Pat was raised outside of the United States until his teenage years, living in Venezuela, Holland, Norway, and England. This time abroad gave him an unusually deep awareness of being a resident of a country while also a world citizen. Through these early experiences, he gained an appreciation for taking diffferent paths to arrave at the same destination.

Indeed, Pat took a convoluted path to folk music, winding his way through rock, heavy metal, and jazz. He started with guitar, shifted to bass, moved to saxophone, and then quit music entirely before a return in 1993, a time when he also began composing songs. By 2001, he left a teaching career to pursue music full time and does so in the broadest way possible. An adept improviser and accompanist, he is sought after as a collaborator, sideman and session musician, with numerous recording credits to date. His monthly e-mail column, "A Few Choice Words," is read by thousands of subscribers. He is a music educator of note, teaching workshops on writing, interpreting, and rearranging songs, on slide guitar and other guitar techniques, and various topics of music history.

His performances--part fireside chat, part meditation on matters earthly and transcendent--feature his originals. In addition to his own tunes, he is quick to offer up a newly-discovered lyric from another performer, or a fresh arrangement of a traditional song, delighting in introducing his audience to innovative material. With flowing red hair and zen-like calm, Pat embraces his audience with the sincerity of his music and the clarity of his voice, inviting them in.

Pat views his life and his music as a journey, populated with an ever-shifting landscape of people, places and emotions. It is a journey he is eager to share with others, knowing that it is the experiences along the way, not the arrival, that initiate the most profound changes.

Pat's fifth CD, Heaven Is So High...And I'm So Far Down, was released in July '06, and has receivved nationwide airplay on folk and specialty radio programs. The disc features standout originals like "I Will Walk With You," the a cappella "Raise My Voice and Sing," and the title track. The CD also includes distinctive versions of Bob Dylan's "Oxford Town," Dave Carter's "When I Go," and a swampy, rousing version of "You Got To Move," featuring Abbie Gardner of Red Molly. His previous CD, Waiting for the Water, also received wide radio play, reaching #4 on the FolkDJ charts in February 2005, and remaining on the charts for months afterward.

“Pat Wictor’s songs, his blues tinged slide guitar and mellow performance style impress the hell out of me. Watch out for this guy. He’s a terrific new talent.”- Gene Shay, WXPN, Philadelphia

“If you can make it to only one concert this year, let it be a show by Brooklyn’s own Pat Wictor, who plays heart-felt blues-based roots music like the only begotten son of Bonnie Raitt (same red hair!) and Chris Smither. And unlike blues interpreters who have seen too many stormy Mondays with hellhounds on their trail, Pat is also an excellent songwriter whose new/old compositions will send you on a journey through the old Dock Boggs and Son House 78s. But these aren’t old songs, they’re originals that, to paraphrase Mr. Smither, are “still flopping around on the deck.”- Jim Motavalli, WPKN, Bridgeport, CT

“Soft-spoken and articulate, in the 1930’s he could have been a dust bowl preacher. The sermons, accompanied by the choir of his slide guitar, would have brought comfort to many a soul.”- Richard Cuccaro, Acoustic Live

“Pat Wictor is a phenomenal lap-slide guitarist and songwriter as well as an interpreter of others’ music. His lyrics are intelligent and compelling, his stage presence commanding.”- Mike Space, Artistic Director, Godfrey Daniels, Bethlehem, PA

“Amazingly his live performances are as polished and brilliant as his recordings. It has been my supreme pleasure to harmonize with him.”- Jen Schonwald, Angel Band and Full Frontal Folk

“Although I am inherently suspicious regarding any so-called “buzz” that surrounds a new artist, the word of mouth about Pat Wictor is more than justified when you listen to the man. He’s a master at the lap-style slide guitar, has a haunting voice, and showcases an eclectic selection of songs on his CDs.”- Charlie Backfish, Sunday Street Program, WUSB, Stony Brook, NY

“This is one of the best CDs to come across my desk in a long time.”- Jeff Rusch, WNTI Hackettstown,NJ

“He not only is a great guy and a great talent, but I believe he has, follicle for follicle, the best hair in folk music.”- Rob Carlson, Modern Man

Jud Caswell lives where the two Maines meet: where ex-hippies play cribbage with fishermen and a kind of rural poetry is salted with Yankee gumption. He grew up on a little farm in Morrill, Maine, picking carrots and milking goats; listening to records by Cat Stevens and the Beatles, reading Mark Twain and Kahlil Gibran.

A multi-instrumentalist from an early age, he wandered through jazz bands, orchestras and medieval ensembles before finding his home on the acoustic guitar. Heralded by Sing Out! magazine as "one of the leading singer-songwriters on the current scene," Jud has won eight nationally recognized songwriting contests, including the Dave Carter Memorial, Boston Folk Festival, and Kerrville New Folk contests. His song "Blackberry Time" is being taught in the songwriting curriculum at the Berklee College of Music in Boston. Jud is currently supporting the release of his latest CD, “Blackberry Time,” released in 2007.

"...one of the leading singer-songwriters on the current scene... highly original... He's a young man who is wise beyond his years. Caswell sings with charming warmth in his voice. By the end of the CD you want to know this man."- Rich Warren, Sing Out!

"Jud Caswell is much more than a great singer and guitar player, Jud's songs take you into the storyteller's world with clear images and characters that come to life for the listener."

- David Wilcox

Folkwax gives "Blackberry Time" a 9, saying, “Caswell's fluent, warm, honey-like melodies and his undoubted skill with his six-string piece of wood and steel... both constitute aural delights... Jud Caswell is a rare and eloquent song poet who truly deserves your time and your God-given listening apparatus...”

- Arthur Wood, founding editor of FolkWax

"Maine's Jud Caswell is one of those expert, multigifted folk singers who are surprisingly unknown outside their home territory. Caswell's guitar playing is elegant, his voice both personable and tuneful, his songs neatly crafted, his sound imbued with warm energy."

Parking:The Loring-Greenough House lot holds 12 cars, gates are closed when full.Parking is also available on the street and in the public lot located behind Blanchard’s liquors, one block away.

Dining:There are several fine restaurants on CentreStreet within 2-3 blocks, with on street parking and a large public parking lot behind Blanchard’s. At Centre Street Café (669A Centre Street, 617-524-9217),

show proof of your reservation and get 10% off.More information at http://groups.google.com/group/notlobmusic/web/centre-street-cafe-becomes-a-notlob-restaurant-partner

Sunday, November 11, 2007

The Notlob Parlor Concerts at the Loring-Greenough House presents the best local and touring roots, Americana, newgrass, traditional and contemporary folk and blues artists in unique and unusual settings in the Boston, MA area. The Fall 2007 series continues at the historic Loring-Greenough House, 12 South Street, Jamaica Plain, MA. 02130, http://www.lghouse.org. Built in 1760, it is listed in the National Register of Historic Places and has been a historic house museum since 1926.Its beautiful period decor and intimate size make it an ideal setting for acoustic music.

Reservations: notlobmusic@gmail.comReservations are recommended as seating is limited to 40 and most past shows have sold out.$2 off for members of the JP Tuesday Club, seniors and students.

“Take Me Home is a rootsy, singer/songwriter collection from one of the best we've heard. Four Stars!” Maverick Magazine, UK “At time soft and soulful, at others riotous and rowdy ... Wakefield is a unique and wholly self-evolved performer with that special ingredient” Mark WehnerProducer/Host of Americana TonightNashville, TN “Mare Wakefield has concocted a mellow, likable country-folk sound on Take Me Home. The opener, "I'll Drive," lays down a backdrop of piano, acoustic guitar and drums that works well with Wakefield's warm vocals. A sad, country-flavored dobro sets the mood for "Pack Up Your Stuff," an emotional downer with a little vocal help from Amelia White. Both songs have strong melodies and, especially in the latter case, unwind at their own pace. Given this pacing combined with low-key arrangements and a simple production (very little reverb, etc.) these songs are imbued with a back-porch quality. Another intriguing quality of Take Me Home is the addition of Nomad Ovunc's piano in the midst of the fiddles and dobros. It's never intrusive as in bad country-pop, but is woven into the texture of "Texas" and "ColdRiver," adding a nice, unexpected touch. Wakefield is helped along this path considerably by bassist Jim Thacker, drummer Justin Amaral, fiddler Brian Arrowood, dobroist Kim Gardner and several others. These players, whatever their individual histories may be, fall into a comfortable groove here, offering an attractive, spare soundscape for Wakefield's vocals. Things get a bit funkier on "Love vs. the USA," a rockin' bit of gospel complete with a backing choir. Non-pretentious with a mellow, country-folk sound, Wakefield's Take Me Home offers a solid group of songs on its own terms. 3 and 1/2 stars.” Ronnie D. Lankford, Jr.All Music GuideAllMusic.com “Cozy brilliance ... Could she be the merger of Maria McKee, Natalie Merchant, Shawn Colvin and Dolly Parton? Wakefield and her guitar fill a musician's space as if an inherent extension of her soul. There is volume and symmetry that is as untainted as it is simple. This most elegant component is indeed a rare find and decrees strength and depth. Feel this music. It absorbs like thirsty skin. ” Michelle MankerLouisville Eccentric ObserverLouisville, KY “Take Me Home is Wakefield's fourth album, and her first in four years. She relies on both acoustic and electric arrangements, and even strips things down to one voice, one guitar on "Lullaby." The piano also adds an extra element to many tracks. Take Me Home sounds great, and Wakefield's an expressive singer. ” Sing Out Magazine “The songs, the voice, the band is just plain good! A voice a bit reminiscent of early k.d. lang, poignant story-telling, diverse scenarios. Wakefield’s humor and technique shine from a powerful voice that reaches both ends of the scale.” Nicki EhrlichVictory Music Review Magazine “Why you aren’t a national figure already can only be chalked up to the music business. Your voice, the sublime intelligence of your lyrics and production are first rate.” George MaidaDJ WCVE FMRichmond, VA “I enjoyed your album [Factory]. I liked your singing, and the songwriting is unique. I loved the one about the sewing machine... Well done in all” Gail Daviesproducer and RCA recording artistNashville, TN“More than your typical fly-by-night coffeehouse folk artist [Wakefield is] musically sophisticated, weaving elements of jazz and bluegrass into her compositions. Her lyrics read like stream-of-consciousness short stories. Don’t pass up the opportunity to see her perform.” CherylEddySan FranciscoBay GuardianSan Francisco, CA“Wakefield’s songs are ’old school’ in the best possible way: they have an honesty and directness that nowadays are hard to find. With her lyrics she’s able to make you think and make you smile ... she even managed to reincarnate the Ghost of John Denver -- what more can you ask for?” Ruben Jonas SchnellNDR (Norddeutscher Rundfunk)German Public Radio, Hamburg“A wonderful singer-songwriter ... I'm glad the rest of the country can be introduced to her talent.” Martin AndersonMusic Director and HostWNCW-FM, Spindale, NC“Well-written songs, beautifully sung ... top notch instrumental accompaniment.” Doug DickWVGN, St. Thomas, Virgin Islands“An arresting collection of folk pop... So immediately accessible it risks getting overplayed.” New TimesSan Luis Obispo, CA“Your new recording is so excellent it was moved up to heavy on our playlist.” Liz WiseKLCC, Eugene, OR “Wakefield is Oregon cafes, small town Texas and twangy Nashville rolled into one. Her guitar and vocals ache in all the right places ... She resembles an early Billy Bragg, you'lll want to be in the front fow at her next concert.” Cranky Crow Music Reviews “Reminiscent of Dar Williams, conjuring up the ghost of Johnny Cash. Her voice is sweet without being saccharine, familiar without sounding like anyone else, and extremely pleasing to the ear ... The fiddle drew me in, the story line kept me from leaving.” Theresa HogueGazette-TimesCorvallis, OR“Unbridled tenacity pours out of her. Through her songs she evokes a passion for music and life on the road.” Ashland Daily TidingsAshland, OR“Rootsy, country-tinged folk ... [Take Me Home] showcases Wakefield's talents beautifully.” Vanessa SalviaEugene WeeklyEugene, OR“Sweet voice, sensitive lyrics ... with a hint of twang.” John LarsonTacoma WeeklyTacomaWA“Introspective and intelligent mix of contemporary folk and Americana.” Jeff McDonaldCascade Arts and EntertainmentBend, OR“Refreshing and versatile.” Mail TribuneMedford, OR“Wakefield wins over audiences with her Gillian Welch-like voice and intelligent lyrics.” Santa Cruz SentinelSanta Cruz, CA “A beautiful merging of the simplicity of the best folk and country music with all of the complexities of human relationships ... The combination of desire and resignation that comes through on the title cut is particularly moving. I'm actually looking forward to my commute to work tomorrow, so I can listen again!” Mark Stepakoffsinger/songwriterBoston, MA“Folky enough to rock a coffee shop near you, rural enough for her to perform the songs at a state fair.” Cooper Lane BakerWeekly PlanetTampa, FL “Introspective yet very much alive...there’s a lovely sense of the upbeat, even in Wakefield’s most brutally personal moments.” Andre HagestedtStatesman JournalSalem, OR“Mare is sultry, cozy and funny; her voice slips somewhere between sweet maple sugar and cognac. Mare’s songs are personal but not agonizing; intimate, but not ponderous. She seems to hold a laugh behind even her more serious lyrics--a laugh and another lighter step.” The Arcata EyeArcata CA “Wakefield has a clear, energetic and confident voice that bounces off the band’s thick walls quite well and even holds humor.” The RocketSeattle, WA“Sweet and clever folk-pop.” Willamette WeekPortland, OR“Good--I liked Wakefield’s mix of humor and angst.” BobDoranNorthCoast JournalEureka, CA “You are sooooo f*cking talented, beautiful, funny. Why aren’t you on tv?” audience member “Tender songs and a clear voice.” The OregonianPortland, OR“Expressive vocals & poetic writing.” The Daily TriplicateCrescentCity, CA“Back by popular demand.” Tacoma WeeklyTacoma, WA “Wakefield’s voice can snake through a venue like an invisible conga line, grabbing listeners and pulling them along with a well-placed rhyme or pointed insight.” The Register-GuardEugene, OR“Stirring vocals.” San FranciscoBay TimesSan Francisco, CA“Wakefield...was the surprise hit of the show. She...delivered a strong set...and stuck around to sing harmony with just about every performer on the bill. She has a beautiful voice, endearing stage presence and writes...with humor.” WOW Hall NotesEugene, OR“Her original songs blend humor and insight about everyday events...with tenderness and strength. Wakefield’s laid-back performance style instantly put the audience at ease, making her shows feel like a circle of friends rather than a concert.” Tanya IgancioThe SourceBend, OR“[Wakefield’s] folk and pop songs are steeped in the everyday with humor and poignant insight.” Auburn JournalAuburn, CA“Mare’s stronger playing [on Factory] is matched by her maturing voice. The notes come out easy...she’s enjoying herself.” Aria SeligmannEugene WeeklyEugene, OR “Each song draws the listener in to a sort of sacred communion with the band...Wakefield opens her world to the listener, as each songs evolves into a charming story.” Rebecca ShalaThe Daily Barometer, Corvallis, OR

"No one really looks like Barbie, so come to the table and eat!" So goes the chorus to the song "Barbie" by Mare (pronounced "Mary") Wakefield. As a teenager, Wakefield struggled with an eating disorder, an experience she chronicles in the song. "Barbie" is humorous and deceptively light-hearted, but girls everywhere responded. "Because of that song, I got my first taste of fan mail," Wakefield recalls. "Girls sent me alternatively-proportioned Barbies in the mail, girls wrote asking about my struggle and detailing their own. This was the first time I truly realized the power a song could have."

Though "Barbie" came out on Wakefield's first record (Girlfriend, 1997), she's never forgotten that lesson. Four records and nine years later, Wakefield still strives to impact her audience through song. Residing in the wide-open spaces between contemporary folk and alt-country, Wakefield tells her stories. Her latest release, Take Me Home, guides listeners on a journey from cross-country road trips to home-sweet-home, from failed relationships to forever love. Songwriting alternates between starkly autobiographical ("Lullaby," "Take Me Home") to flights of fiction ("Leroy," "You Don't Know"), but always Wakefield alights upon a universal truth.

With a voice that's been called "Oregon cafes, small Texas towns and twangy Nashville rolled into one" (Cranky Crow, SeattleWA), Wakefield is gently carving out a name for herself, her music, and her stories.

Mare’s CDs, Girlfriend (1997), Factory (1999), One Day's Drive (2001), and Take Me Home (2006) are receiving airplay on folk, triple A and non-comm radio stations nationwide and in Canada, Australia, and Europe.

It's rare to find this marriage of smart social commentary with great music, but Gonzalez has done just that, fair and Square.

-Performing Songwriter

Public Square [the album] is excellent.

Rob Reinhart - Acoustic Café

...[a] literate topical balladeer.

Scott Alarik - Boston Globe

Boston singer/songwriter Dan Gonzalez released Public Square in June, 2006. Gonzalez's second full-length album features his newest songs in their purest form. Public Square has received wide acclaim, including recognition on Rob Reinhart’s nationally syndicated Acoustic Café program. The album was also chosen as a top 12 "Do It Yourself" album by Performing Songwriter magazine.

Dan Gonzalez has been called the "future of the singer/songwriter" and a "masterful solo performer" (reviews, cdbaby.com). Since winning the top songwriting scholarship at the Berklee College of Music in 2003, Dan has played venues such as Club Passim, the BerkleePerformanceCenter, and the Bitter End. His music has received radio play on radio stations across the country, including Mix 98.5 Boston and WUMB 91.9 Folk Radio Boston, and has been featured on NPR's All Songs Considered.

In addition to performing and writing, Dan has initiated the Columbus Day Gift Project. This project raises funds through the sale of Dan’s song, Columbus Day. All profits from the sale of the Columbus Day single are gifted to Rethinking Schools, an organization committed to education for social justice. For more information on the Columbus Day Gift Project, please visit columbusdaygifts.org.

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